http://marcfoxx.com/ Contemporary art gallery located on Wilshire Boulevard in Los Angeles en Copyright 2013, Marc Foxx Gallery Thu, 23 May 2013 12:31:02 -0400 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 27 - May 18, 2013</div> <br/> <a href="/exhibition/view/2441"><img border="0" src="http://marcfoxx.com/static/dyn-images/54/54872.jpeg" alt="" height="340" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2441 <div class="exhibition-subtitle">Nummer veertien, &lt;i&gt;home&lt;/i&gt;</div> <div class="exhibition-dates">March 9 - April 20, 2013</div> <br/> <a href="/exhibition/view/2427"><img border="0" src="http://marcfoxx.com/static/dyn-images/54/54288.jpeg" alt="" height="281" width="500" /></a> <p>GUIDO VAN DER WERVE, <em>Nummer veertien, home</em>, 2012</p> <p> 4K video, 54 mintues </p> <br /> <div class="exhibition-description"><p><br /><br /> <br /><br /> Marc Foxx Gallery presents Guido van der Werve&#39;s most recent work "Nummer veertien, <i>home</i>", a 54 minute video which will be screening every hour on the hour for the duration of the exhibition.<br /> <br /><br /> "Nummer veertien, <i>home</i>" spans across exceptional distance and time. Created as a Requiem in three movements with twelve acts, van der Werve performs a 1,200-mile triathlon from Warsaw to Paris, retracing the reverse path of the composer Fr&eacute;d&eacute;ric Chopin&#39;s heart. Chopin, before his death in 1849, asked that his sister fulfill his intent request of returning his heart to his native Poland. Her repatriation of his heart led to its interment in the Church of the Holy Cross in Warsaw, while his body remains at the P&egrave;re Lachaise Cemetery in the 20th arrondissement. Intermixed in this classic, funereal Requiem are the tales of Alexander the Great&#39;s infamous military campaign and van der Werve&#39;s own deadpan, yet candid, humor in his personal narratives of endurance and the concept of home.</p></div> http://marcfoxx.com/exhibition/view/2427 <div class="exhibition-subtitle">“We live entirely, ©, by the imposition of a narrative line upon disparate images, by the ‘ideas’ with which we have learned to freeze the shifting phantasmagoria which is our actual experience.”</div> <div class="exhibition-dates">January 26 - March 2, 2013</div> <div class="exhibition-opening">Opens Saturday, January 26, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2417"><img border="0" src="http://marcfoxx.com/static/dyn-images/53/53954.jpeg" alt="" height="1493" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2417 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 18, 2012 - January 19, 2013</div> <br/> <a href="/exhibition/view/2392"><img border="0" src="http://marcfoxx.com/static/dyn-images/53/53831.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2392 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 20 - November 28, 2012</div> <div class="exhibition-opening">Opens Saturday, October 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2391"><img border="0" src="http://marcfoxx.com/static/dyn-images/52/52591.jpeg" alt="" height="322" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2391 <div class="exhibition-subtitle">MICHAEL DEAN, WILLIAM DANIELS, DAVID MUSGRAVE, RICKY SWALLOW, SAM WINDETT</div> <div class="exhibition-dates">September 8 - October 13, 2012</div> <div class="exhibition-opening">Opens Saturday, September 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2376"><img border="0" src="http://marcfoxx.com/static/dyn-images/51/51901.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2376 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 30 - August 4, 2012</div> <div class="exhibition-opening">Opens Saturday, June 30, 11:00 AM - 6:00 PM</div> <br/> <a href="/exhibition/view/2328"><img border="0" src="http://marcfoxx.com/static/dyn-images/50/50651.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Marc Foxx Gallery is pleased to present our third main gallery exhibition by Roger Hiorns. </p> <p><b>To what degree are we alive. </b></p> <p><span class="caps">ROGER HIORNS</span><br /> Untitled, 2009<br /> atomised passenger aircraft engine</p></div> http://marcfoxx.com/exhibition/view/2328 <div class="exhibition-subtitle">west gallery</div> <div class="exhibition-dates">June 30 - August 4, 2012</div> <div class="exhibition-opening">Opens Saturday, June 30, 11:00 AM - 6:00 PM</div> <br/> <a href="/exhibition/view/2361"><img border="0" src="http://marcfoxx.com/static/dyn-images/50/50711.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Marc Foxx is pleased to present a selection of photographs from the Isabella Stewart Gardner Museum by Luisa Lambri.</p></div> http://marcfoxx.com/exhibition/view/2361 <div class="exhibition-subtitle">Instrumental Music</div> <div class="exhibition-dates">May 18 - June 23, 2012</div> <div class="exhibition-opening">Opens Friday, May 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2345"><img border="0" src="http://marcfoxx.com/static/dyn-images/49/49493.jpeg" alt="" height="576" width="439" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2345 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 18 - June 23, 2012</div> <div class="exhibition-opening">Opens Friday, May 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2327"><img border="0" src="http://marcfoxx.com/static/dyn-images/49/49894.jpeg" alt="" height="576" width="469" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2327 <div class="exhibition-subtitle">assembled, moved, re-arranged and scrapped continuously</div> <div class="exhibition-dates">April 7 - May 12, 2012</div> <div class="exhibition-opening">Opens Saturday, April 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2326"><img border="0" src="http://marcfoxx.com/static/dyn-images/48/48523.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2326 <div class="exhibition-subtitle">Blue Notebook &amp;#8470; 10</div> <div class="exhibition-dates">February 18 - March 31, 2012</div> <div class="exhibition-opening">Opens Saturday, February 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2311"><img border="0" src="http://marcfoxx.com/static/dyn-images/47/47701.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><br /><br /> <br /><br /> <span class="caps">SANYA KANTAROVSKY</span></p> <p>Blue Notebook &#8470; 10</p> <p><span class="caps">FEBRUARY</span> 18- <span class="caps">MARCH</span> 24 2012</p> <p>Blue Notebook &#8470; 10 (as first written in "&#1043;&#1086;&#1083;&#1091;&#1073;&#1072;&#1103; &#1058;&#1077;&#1090;&#1088;&#1072;&#1076;&#1100;&#39;" or "The Blue Notebook")</p> <p>There lived a redheaded man who had no eyes or ears. He didn&#39;t have hair either, so he was called a redhead arbitrarily. He couldn&#39;t talk because he had no mouth. He had no nose either. He didn&#39;t even have arms or legs. He had no stomach, he had no back, he had no spine, and he had no innards at all. He didn&#39;t have anything. So we don&#39;t even know who we&#39;re talking about. It&#39;s better that we don&#39;t talk about him any more. -Daniil Kharms, 1937</p> <p><span class="caps">MARC FOXX </span>is pleased to present the first American solo exhibition by Russian-born, Los Angeles-based artist, Sanya Kantarovsky.</p> <p>The title of the exhibition is adopted from the above poem penned by the writer Daniil Kharms in 1937, a few years before his arrest and execution at the height of Stalin&#39;s repression. A vanishing portrait of a "redheaded man", Blue Notebook No 10 offers an absurdist negation of physicality and form. Avoiding a potentially nihilistic position, Kharms establishes an ontological presence that persists through physical erasure, briskly probing the limitations of our material and linguistic conditions. </p> <p>Kantarovsky&#39;s paintings, sculptures and video dwell within the same interstices of presence and absence, of figuration and abstraction. Through visual puns and gestural traces, the figures in Kantarovsky&#39;s paintings draw attention to their framed environment and pictorial confinement. The compositions that approach abstraction always retain a tether to the body, echoing the questions that emerge out of The Blue Notebook. Kantarovsky imbues the figures in his paintings with an affect that evokes a legacy of symbolism and allegory. These paintings, which all take their titles from Kharms poems, look towards and echo episodes from the poet&#39;s work and life. The Man in the Black Coat, 2012 for instance, portrays a pair of ominous black-booted figures flanking a barefoot man clad in pajamas, a pipe (Kharms&#39; signature accessory and ex-libris) dropping from his limp hand, suggesting the beginning of an end. </p> <p>The language of figuration and analytic abstraction in Kantarovsky&#39;s project are reminiscent of Russian Modernist cartoons, illustration, and design, and are reframed in the more hermetic and programmatic strategies central to western contemporary art. At times poetic and at others bordering on constrained, Kantarovsky&#39;s works reflect on the divergent methodologies of east and west and mine personal and collective history, language, and memory.</p> <p>The central grouping of sculptures function as an architectural compass in the exhibition. Their transparency reveals the processes of drawing and looking, at once fragmenting specific paintings and bringing others together.</p> <p>At times, the sculptures draw the threads of peripheral narratives together with the paintings, appearing as familiar, nearly generic stand-ins for constructivist assemblage, reminiscent of El Lissitsky or Naum Gabo. The steel sculpture Shabolovka, 2012, a freestanding pair of steel ovals, one patterned and the other empty--borrows its name from the Moscow neighborhood where Kantarovsky spent his childhood. The pattern is drawn from the window grate of his pre-school, while its mirrored, empty counterpart suggests an absence and the distance of memory. </p> <p>The two channel video installation in the west gallery pairs two cinematic gestures. On the left monitor, a languid pan of a seemingly infinite multitude of scattered blank pages is eventually interrupted by a black rectangle in the center of the screen, evoking both Malevich&#39;s iconic Black Square and the marks of omission, censorship, or amnesia. The right channel plays a faithful reconstruction of the title sequence to a Russian television program for teenagers that aired in the Soviet Union throughout the 1970&#39;s and 1980&#39;s. The installation shares its title with the program, Before 16 and Older. This sequence of a young boy running down an infinite open road toward a perpetually receding camera was aimed at illustrating youthful freedom, hope and exuberance. The message was certainly a false promise under the Soviet Regime, yet ultimately became an icon for a new generation of Soviet youth in the era of perestroika. The black rectangle reappears over this sequence, preventing the viewer from identifying the boy as he approaches the camera. As the boy comes closer still, his hands and feet peek out from beneath the box, creating an odd anthropomorphized rectangle. Here, as in much of the work in the exhibition, tragedy and loss imbricate optimism and humor. The location of the shot, an empty California desert road, is a nod to the artist&#39;s current city of residence, Los Angeles, and its own paradigm of vacancy and potential. A blank page. </p> <p>Sanya Kantarovsky&#39;s group exhibitions include a screening at Lost and Found at the New Museum in New York, and recently Phases, curated by Wallspace and Kelly Taxter at Wallspace, New York. He studied at the Rhode Island school of Design, participated in the Skowhegan School of Painting and Sculpture residency, and received his Masters in Fine Arts degree from the University of California, Los Angeles in 2011. He lives and works in Los Angeles.</p></div> http://marcfoxx.com/exhibition/view/2311 <div class="exhibition-subtitle">110 to Hellman Ave</div> <div class="exhibition-dates">January 7 - February 11, 2012</div> <div class="exhibition-opening">Opens Friday, January 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2271"><img border="0" src="http://marcfoxx.com/static/dyn-images/46/46655.jpeg" alt="" height="333" width="500" /></a> <p>ALESSANDRO PESSOLI, <em>Echo Park</em>, 2011</p> <p> Oil, acrylic, spray paint and pastel on canvas with steel supports, 88 x 181 x 16.5 inches </p> <br /> <div class="exhibition-description"><p><span class="caps">FOR IMMEDIATE RELEASE</span></p> <p><span class="caps">ALESSANDRO PESSOLI</span></p> <p>110 to Hellman Ave</p> <p>7 <span class="caps">JANUARY </span>- 11 <span class="caps">FEBRUARY</span> 2012</p> <p>Reception Saturday 7 <span class="caps">JANUARY</span> 6:00 to 8:00 PM</p> <p><span class="caps">MARC FOXX </span>is pleased to present a new exhibition of work by Italian-born, Los Angeles-based artist Alessandro Pessoli.</p> <p>Pessoli&#39;s third exhibition with the gallery reflects on his recent relocation to Los Angeles from Milan and the revelations that come from being a stranger in a strange land. Pessoli has said, "...I realize how fragile and subtle is this reassuring feeling; the boundary between feeling at home and feeling a stranger is fragile, precarious. The works I&#39;m presenting are part of this life suspended between a sense of belonging and one of alienation..." The works in the exhibition combine the artists deep love and knowledge of European art history along with his influences from his new home providing a rich result.</p> <p>The Los Angeles landscape is referred to in the exhibition title "110 to Hellman", the route taken from the artists&#39; studio to his home. The romance and affect of the Los Angeles driving landscape on the artist is clear in the largest work in the exhibition, Echo Park, 2011, a 15 foot long painting sitting upon two small, steel sawhorses. The image is of a 1980&#39;s Mercedes against a rainbow background, while the exterior and interior of the car is a psychedelic field of flowers and prismatic color. This is a car that Pessoli feels is a representation of the city&#39;s artist and dreamer occupants: a kind of fantasy transportation. </p> <p>110 to Hellman, 2011 is also a title of a work on view that incorporates a very common technique in American art, the process of silkscreen. Pessoli replicates two images of his studio side by side and hangs them on a sculptural bronze rack. Each of the 20 silkscreen prints vary in color and include unique, manual interventions made with stencils. Although only the first two are visible, the colors of the other prints are reflected on the sides. <br /> Pessoli&#39;s Los Angeles inspiration is consciously revealed in the sculptural work on view. The artist&#39;s sculptural practice had previously existed in his celebrated ceramic work, but in this exhibition his sculptures exist in bronze, aluminum and steel, beautifully bringing together the resources of Los Angeles with the romanticism of European imagery. Books Waiter, 2011, a lost-wax cast in aluminum, is a bowing figure with a book cradled in his arched back. This unique book of 134 intimate and subtle drawings are made from newspaper and spray-paint, all intimations of a daily practice of art in Los Angeles. Hellman, 2011, a large cast bronze head, is polished in certain areas and emerging from a modernist steel construction. </p> <p>In The Player, 2011, we see a figure leaning on a bench underneath a flagpole of red fabrics. The most complex sculpture in the exhibition, the figure has a shape that is at the same time gaunt and dense with details; both rigid and soft, even maniacal in the definition of its asymmetric, crooked nose. The figure is lost in thought. Absorbed and focused, he holds the vision of the entire show. Holding coins in his hand, the figure plays with and searches for balance. These sculptures, along with the title of the exhibition, give viewers a sense of the constructed environs that Pessoli has experienced and the route that he takes to, in effect, "go home". </p> <p>Alessandro Pessoli&#39;s solo exhibitions include Caligola at Nottingham Contemporary, <span class="caps">MACRO</span> Museo d&#39;Arte Contemporanea Rome and the Maromotti Collection, Reggio Emilia. Recent selected group exhibitions include the 3rd Thessalonki Biennale of Contemporary Art in Greece, Jean-Luc Blanc, Opera Rock, curated by Alexis Valliant at <span class="caps">CAPC</span> Bordeaux in France and Making Worlds, curated by Daniel BIrnbaum at the 53rd International Art Exhibition Venice Biennale.</p></div> http://marcfoxx.com/exhibition/view/2271 <div class="exhibition-subtitle">Detumescence and/or its Opposite (from a Torment of Follies)</div> <div class="exhibition-dates">January 7 - February 11, 2012</div> <div class="exhibition-opening">Opens Saturday, January 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2298"><img border="0" src="http://marcfoxx.com/static/dyn-images/47/47290.jpeg" alt="" height="320" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2298 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 19 - December 22, 2011</div> <div class="exhibition-opening">Opens Saturday, November 19, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2222"><img border="0" src="http://marcfoxx.com/static/dyn-images/45/45895.jpeg" alt="" height="704" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><br /><br /> <br /><br /> <span class="caps">FOR IMMEDIATE RELEASE</span><br /> <span class="caps">RICKY SWALLOW</span><br /> 19 <span class="caps">NOVEMBER </span>- 22 <span class="caps">DECEMBER</span> 2011</p> <p>Reception Saturday 19 November 6:00 to 8:00 PM<br /> <span class="caps">MARC FOXX </span>is pleased to present our second solo exhibition with Australian-born and Los Angeles-based artist Ricky Swallow.</p> <p>Swallow, in this new body of work, addresses the everyday and commonplace object: a cup, a clock, a pipe, a pot, a book or a reading lamp, altering them into small commemorations in bronze. Their scale, color and relationship to one another becomes an economy that weaves throughout the installation. Swallow began his current body of work by transcribing standard cardboard tubes into basic, yet intrinsically personal forms, honoring the very nature of the objects as realized and described through his alterations. By using this pre-existing cardboard material as a negotiator, Swallow finds an inventive and economical way of arriving at these forms and challenging a more modernist approach to sculpture. There is a surrealistic play within these works partly in the translation of these more ephemeral forms from their original material to a solidified, more permanent bronze. </p> <p>Swallow&#39;s practice has always addressed materiality and transformation, as seen with his previous woodcarvings and their processes of reduction. This new area of Swallow&#39;s practice involves addition, improvisation and construction. The subtle evidence of the cardboard and tape used to construct the original model is quietly at play on the tactile surfaces of the works. The artist&#39;s careful and specific use of color in the patinas references utilitarianism, modernism and the rudimentary design palettes of Native American Art. The color of the patinas seem effortless, but are, in fact, a very intricate process, which is in contrast to a classical, more traditional approach to treating bronze. References can also be seen in this collection from Mid-Century modernist art, design, architecture and ceramics. </p> <p>Variations on the form of the French curve appear throughout the show as an adaptive and playful motif, which echoes the nature of the cardboard tubing material from which each work was created. The use of the top hat, in "Blowing Hats", 2011 and "Hat Clock/Open Study", 2011 has been adapted to signify both playful dynamism as well as formal contemplation.</p> <p>Many of these works are studies of the basic nature of objects which are combined with the artist&#39;s personal narratives and references including variations of the form of the French curve, the use of the top hat in "Blowing Hats" 2011 and the clock in "Clock with Primary Parts", 2011 which hangs on a wall but doesn&#39;t tell time, acting as an invisible indicator of that which we cannot control, yet measures our days. "Alarm Clock Study" has intimate meaning in it&#39;s conception- our gaze reads 1-9-7-4 clockwise, which is the year of Swallow&#39;s birth and "Seated Man", 2011 becomes a key emotional figure, where object can be seen as a possible self-portrait.</p> <p>Shown on classical plinths for the exhibitions, these works find gravity in the environment off the pedestal, incorporating themselves into their domestic surroundings. The narratives that these new works create ask for quiet reflection on what might be considered the small pleasures of life, as they are made in proximity to our daily rituals in the moments where object-hood is more than just function or form, but rather an intimate relationship and exchange with ourselves. </p> <p>Swallow&#39;s recent exhibitions include Ricky Swallow: The Bricoleur, at the National Gallery of Victoria, Melbourne, Australia, Ricky Swallow, Watercolours at the University of Queensland Art Museum Brisbane Australia. He was the exhibited artist for the Australian Pavilion in the 2005 Venice Biennale, and has had solo exhibitions the Kunsthalle Vienna project space and <span class="caps">PS1</span>/MoMA, New York. In 2012, The Huntington Art Collection at the Huntington Gardens will exhibit Ricky Swallow with Lesley Vance, co-curated by Catherine Hess and Christopher Bedford.</p></div> http://marcfoxx.com/exhibition/view/2222 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 8 - November 12, 2011</div> <div class="exhibition-opening">Opens Saturday, October 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2220"><img border="0" src="http://marcfoxx.com/static/dyn-images/44/44915.jpeg" alt="" height="692" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><br /><br /> <span class="caps">FOR IMMEDIATE RELEASE</span><br /> <span class="caps">WILLIAM DANIELS</span><br /> 8 <span class="caps">OCTOBER </span>- 12 <span class="caps">NOVEMBER</span> 2011</p> <p>Reception Saturday 8 October 6:00 to 8:00 PM<br /> <span class="caps">MARC FOXX </span>is pleased to present our third solo exhibition with London-based painter William Daniels. </p> <p>Daniel&#39;s beings his process by constructing very quick, intimately scaled, non-representational forms, which he then photographs. The artist complicates this in an extraordinary way by making these crude models from aluminum foil using reflected color, the result being an illusory and refracted space that becomes solidified through the process of painting. <br /> Daniels&#39; paintings utilize real forms and entice the viewer into examining their depth and investigating the complex area where space begins and ends. The works question what is natural and what is man-made, what is recognizable and what is only reflection, what is stable and what is disposable. The fluid space of the paintings also allows them to exist as both light and space as well as crumpled and molded foil.</p> <p>His repetition of structural themes such as the arch, allow him to travel within a common motif and extract variance in that motif. The detailed creases, folds and planes within the paintings seem to anticipate the brushstroke. The paintings explain light and space and allow the works to become a journey to create the enduring out of the ephemeral. </p> <p>Daniels recent exhibition include Transparent Things at the Kunstverein Freiburg, Germany; Big Minis at the <span class="caps">CAPC</span> Bordeaux; Pure, Personal or Abstract at the <span class="caps">GAM</span> Contemporary City Museum in Turn; Newspeak: British Art Now, The State Hermitage Museum St. Petersburg and The Saatchi Gallery, London; Twenty-Five, Luhring Augustine, New York; At Home, curated by Mario Testino, Yvon Lambert, New York; Jerwood Contemporary Painters, Jerwood Space, London. His recent solo exhibition include Luhring Augustine, New York and Vilma Gold, London. Daniels has recently been included in the recently released "Vitamin P2: New Perspectives in Painting.</p></div> http://marcfoxx.com/exhibition/view/2220 <div class="exhibition-subtitle">west gallery</div> <div class="exhibition-dates">October 8 - November 12, 2011</div> <div class="exhibition-opening">Opens Saturday, October 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2221"><img border="0" src="http://marcfoxx.com/static/dyn-images/44/44822.jpeg" alt="With support from Mondriaan Stichting." height="405" width="392" /></a> <p><p>With support from Mondriaan Stichting.</p></p> <br /> <div class="exhibition-description"><p><br /><br /> <span class="caps">FOR IMMEDIATE RELEASE</span><br /> <span class="caps">MAAIKE SCHOOREL</span><br /> Diary<br /> 8 <span class="caps">OCTOBER </span>- 12 <span class="caps">NOVEMBER</span> 2011</p> <p>Reception Saturday 8 October 6:00 to 8:00 PM<br /> Marc Foxx is pleased to present Diary, a new exhibition in our west gallery by London-based, Dutch painter Maaike Schoorel. </p> <p>Schoorel&#39;s subtle paintings ask the viewer to spend time in front of them, to read them and discover their subject matters, which reveal themselves only over time. The artist paints from photographic reference and her subject&#39;s range from portraits and self-portraits to landscapes and still-lifes, all of which are personal and intimate. </p> <p>The reduced amount of activity on the surface of the canvas and on the composition of the painting allows for the brushstrokes to take on an important, highly structured and heightened sense of experience. By building the structure of the composition through the use of color and application, Schoorel allows for the experience of the image to advance in a phenomenological way. </p> <p>Three black-on-black and one white-on-white, oil on canvas works are on view, all indicating specific scenes or moments. While her paintings go through a reductive process on a careful palate, her brushstrokes are nuanced and intentional. Schoorel gives the viewer a slow-sense of how perception can be skewed, evoking and conjuring up memory through minute and careful expression.</p> <p>Maaike Schoorel&#39;s recent exhibitions include Painting Between the Lines at the <span class="caps">CCA</span> Wattis in San Francisco; The British Art Show 7, touring The Nottingham Contemporary, Hayward Gallery, London, Glasgow, and Plymouth; British Art Now at the Art Gallery of South Australia; and the Dutch Embassy in London. She has had solo exhibitions at the Museum de Hallen in Haarlem, Galerie Diana Stigter in Amsterdam, and Maureen Paley in London. Previous group exhibitions include visible invisible; against the security of the real, parasol unit, London; Eyes Wide Open- New to the Collection, Stedelijk Museum, Amsterdam; Nonknowledge , Projects Art Centre, Dublin; Athens Biennial, Athens; Very Abstract and Hyper Figurative, curated by Jens Hoffman, Thomas Dane Gallery, London; Just in time, Stedelijk Museum, Amsterdam, Le Nouveau Siecle, curated by Xander Karskens, Museum van Loon, Amsterdam; Vincent van Gogh and Expressionism, Van Gogh Museum, Amsterdam. </p> <p>Schoorel has recently been included in the recently released "Vitamin P2: New Perspectives in Painting" and is slated for solo exhibitions at Maureen Paly, London and the Frans Hals Museum in Haarlem in 2012.</p></div> http://marcfoxx.com/exhibition/view/2221 <div class="exhibition-subtitle">&quot;72&quot;</div> <div class="exhibition-dates">September 3 - October 1, 2011</div> <div class="exhibition-opening">Opens Saturday, September 3, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2242"><img border="0" src="http://marcfoxx.com/static/dyn-images/44/44363.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2242 <div class="exhibition-subtitle">Endymion's Journey</div> <div class="exhibition-dates">September 3 - October 1, 2011</div> <div class="exhibition-opening">Opens Saturday, September 3, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2219"><img border="0" src="http://marcfoxx.com/static/dyn-images/44/44361.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2219 <div class="exhibition-subtitle">&quot;MY BEST THING&quot;</div> <div class="exhibition-dates">June 18 - July 30, 2011</div> <br/> <a href="/exhibition/view/2211"><img border="0" src="http://marcfoxx.com/static/dyn-images/43/43072.jpeg" alt="FRANCES STARK Stills of &quot;My Best Thing&quot; 2011" height="281" width="500" /></a> <p><p><span class="caps">FRANCES STARK</span> Stills of "My Best Thing" 2011</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2211 <div class="exhibition-subtitle">LEONOR ANTUNES &lt;BR&gt;WILLIAM DANIELS&lt;BR&gt;SANYA KANTAROVSKY&lt;BR&gt;ANNETTE KELM&lt;BR&gt;ALESSANDRO PESSOLI&lt;BR&gt;AMALIA PICA&lt;BR&gt;MAAIKE SCHOOREL&lt;BR&gt;RICKY SWALLOW</div> <div class="exhibition-dates">June 18 - July 30, 2011</div> <br/> <a href="/exhibition/view/2203"><img border="0" src="http://marcfoxx.com/static/dyn-images/43/43099.jpeg" alt="Ricky Swallow &quot;Magnifying Glass with Pipe&quot; 2011 patinated bronze" height="625" width="500" /></a> <p><p>Ricky Swallow "Magnifying Glass with Pipe" 2011<br /> patinated bronze</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2203 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 23 - June 11, 2011</div> <div class="exhibition-opening">Opens Saturday, April 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2191"><img border="0" src="http://marcfoxx.com/static/dyn-images/41/41735.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2191 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 23 - June 11, 2011</div> <br/> <a href="/exhibition/view/2188"><img border="0" src="http://marcfoxx.com/static/dyn-images/41/41726.jpeg" alt="" height="600" width="393" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2188 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 19 - April 16, 2011</div> <br/> <a href="/exhibition/view/2063"><img border="0" src="http://marcfoxx.com/static/dyn-images/41/41471.jpeg" alt="Jason Meadows detail of &quot;Tumbleweed Satellite Cathedral&quot; 2011" height="345" width="500" /></a> <p><p>Jason Meadows detail of "Tumbleweed Satellite Cathedral" 2011</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/2063 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 12 - March 12, 2011</div> <br/> <a href="/exhibition/view/1994"><img border="0" src="http://marcfoxx.com/static/dyn-images/40/40196.jpeg" alt="" height="600" width="475" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1994 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 8 - February 5, 2011</div> <div class="exhibition-opening">Opens Saturday, January 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1993"><img border="0" src="http://marcfoxx.com/static/dyn-images/39/39303.jpeg" alt="&quot;Daytime Ghost&quot; 2010" height="498" width="500" /></a> <p><p>"Daytime Ghost" 2010</p></p> <br /> <div class="exhibition-description"><p><br /><br /> <br /><br /> <span class="caps">MARC FOXX </span>is pleased to present the gallery&#39;s second solo exhibition with Tokyo-based artist Makiko Kudo. </p> <p>Makiko Kudo&#39;s paintings are inspired by traditional Japanese imagery of plant and animal life as seen through a contemporary filter. Kudo has been linked to a young generation of Japanese artists in a movement termed "Micropop", an after-burn of its forbearer, "Superflat". Micropop and its proponents are interested in interior life and self mythologies, with the world constructed in the intimate and private spaces of its practitioners using low and humble materials, separate but not disassociated from the technological world.</p> <p>Midori Matsui, the art critic who coined the term, has written that, "The expressions of this new art thinks up new ways to use abandoned things, such as old legends and empty spaces, creating venues for communication... The term "Micropop" is used to describe the attitude or approach to life that creates an unique and original path of living or aesthetics by combining fragments gathered from various places, without relying on institutional morals or major ideologies."</p> <p>The nine new paintings in the exhibition occupy space with both figuratively familiar imagery as well as dream-like abstraction. The combination of the artists&#39; masterfully expressive brushwork and vibrant, almost fauvist pallet, are unusual in contemporary Japanese painting, yet are engaged in the intimate and private worlds of the "here and now" of the Micropop dialogue. While the girls in all of her paintings are not direct self-portraits, they each illicit sympathy from Kudo as well as the viewer, inviting a personal connection, a place where each of the girls can meet again, inside the viewers consciousness. Kudo&#39;s paintings offer an individualist look at a moment that is intimately imbued with emotion, opening up a texturally imaginative and animated world. </p> <p>Makiko Kudo was born in 1978 in Aomori, Japan. She graduated from Joshibi University of Art and Design with a specialization in oil painting in 2002. Kudo&#39;s recent solo exhibitions have been at Tomio Koyama Gallery in Tokyo as well as at the <span class="caps">TOMODACHI</span> Takahashi Collection. She was included in Winter Garder: The Exploration of the Micropop Imagination in Contemporary Japanese Art at the Museo Universitario del Chopo and Takashi Murakami&#39;s book, Tokyo Girls Bravo. lives and works in Kanagawa, Japan.</p></div> http://marcfoxx.com/exhibition/view/1993 <div class="exhibition-subtitle">Metemetrica</div> <div class="exhibition-dates">October 23 - December 4, 2010</div> <br/> <a href="/exhibition/view/1957"><img border="0" src="http://marcfoxx.com/static/dyn-images/37/37434.jpeg" alt="" height="322" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><br /><br /> <br /><br /> <br /> <span class="caps">MARC FOXX </span>is pleased to present Metemetrica, the gallery&#39;s third solo exhibition for Los Angeles-based artist Carter Mull.</p> <p>In a recent interview , Carter Mull wrote that "...the relationship between time and information, and how an image is consumed, processed and what kind of productive life it may have is, I think, central. One possible definition of a photograph is that it is something that re-materializes the object or matter in front of the lens and works as a conceptual machine structured by information and time and governed by the viewer&#39;s perception."</p> <p>Mull&#39;s exhibition of new work, Metametrica, incorporates sculpture, video, photography and installation, all working collaboratively towards the desire to show us a new way of considering and examining the complex reception of the barrage of information both visual, factual and social at this moment in time. </p> <p>Many of the works in the exhibition include images of food, a reference to the social space of bars, restaurants and kitchens, where information is exchanged in an emotional and pleasurable way and these images are often overlaid with those of media: newspapers, advertisements and historical imagery. The literal, cognitive and technological stacking of these kinds of imagery brings in an everyday possibility for experiencing and processing information in a more communal way. </p> <p>Another example of Mull&#39;s interest in stacking imagery can be seen in Diamond Caviar, 2010: 1,800 printed stills from an online diamond commercial which have been redistributed over the gallery floor. Photographically printed over the diamond imagery are 1,800 additional images of caviar. Each still is adhered to a reflective sheet of Mylar, extraordinarily altering the temporality of the room. </p> <p>In the west gallery, Delicacy, 2010, a new video, shows us this kind of communication in intelligent and playful ways through the use of footage of a lobster, brightly colored macaroons and overlaid cartoon imagery while the audio presents a child attempting to recite complex post punk rock lyrics, coached by his father. The projector and other technical elements all sit atop a table covered by a photograph printed on fabric that includes the materials used in the film. </p> <p>In this work, and others, one can see references to figures such as Marcel Broodthaers and Sigmar Polke, giving us a historical thread to connect these ongoing discussions to the present time in flux. This essential examination of information and visual culture is at the heart of Mull&#39;s project. Now more than ever the notions of the past are in question and Metemetrica provides a new system for the use and consumption of images.</p></div> http://marcfoxx.com/exhibition/view/1957 <div class="exhibition-subtitle">Slide Paintings</div> <div class="exhibition-dates">September 9 - October 16, 2010</div> <br/> <a href="/exhibition/view/1925"><img border="0" src="http://marcfoxx.com/static/dyn-images/36/36603.jpeg" alt="" height="600" width="413" /></a> <p></p> <br /> <div class="exhibition-description"><p><br /><br /> <br /></p> <p><span class="caps">MARC FOXX </span>is pleased to present work by Brooklyn-based artist Richard Aldrich. In his second solo exhibition with the gallery the artist opens new territory in an already rich painting landscape. The title of the exhibition, <span class="caps">SLIDE PAINTINGS, </span>refers not only to the three works utilizing 35mm slides, but also to other work-- past and present-- which purport to act as one thing but intend to operate and slide into different locations.<br /> <br /> Recognized for his intelligent and engaging use of paintings aesthetic legacy, Aldrich incorporates his own language into this history through a conceptual correspondence with previous paintings, of his own and of others, and connects them in various series through time. The 35mm slide paintings, with their cut-canvas windows, through which the slides are illuminated from the back (the electronics were made by the artist&#39;s father), present images of past performances, installations and paintings, none of which exist today. This invisible history is locked down by the slide and allows us to think on concepts of archiving and continuity, as well as engage us in an important dialogue with the other works in the show. In the other cut-canvas work ufo2, 2006, a previously exhibited piece which was returned to the studio to remain unopened until the artists decision to include it in the exhibition, the artist once again demonstrates his connection to aesthetic continuums. Other exhibited works have balances that slide from abstraction ("Constructed and Perceived Narratives" 2010), to figurative personalization, as seen in Kimono 2010, which holds the same placement of the work Hamlet, from his 2007 exhibition. Hamlet, Kimono and Untitled (Worn cross), 2010, address representations of adornment. This marriage of the figurative and the abstract can be seen in referential allusion to spaces that are cut out or added on to, paintings that are excised or appended. </p> <p>Aldrich&#39;s style has been one of systematic interaction; he is both describing his material and as well as his retrospect conceptual movement. <span class="caps">SLIDE PAINTINGS, </span>in turn, becomes slideshow, remembering itself from previous exhibitions, referencing and informing itself-- it is Aldrich&#39;s own personal review or survey in new incarnations.</p> <p>Richard Aldrich was recently included in the 2010 Whitney Biennial. He has shown in group exhibitions at the Kunstverein Freiburg in Freiburg, Germany and Gustavsbergs Konsthall, Gustavsberg, Sweden. Upcoming shows include an exhibition at the Centro Gallego de Arte Contemporaneo and the Contemporary Art Museum St. Louis.</p></div> http://marcfoxx.com/exhibition/view/1925 <div class="exhibition-subtitle">ANNE COLLIER &lt;br&gt; BRIAN FAHLSTROM &lt;br&gt;LUISA LAMBRI &lt;br&gt; JASON MEADOWS&lt;br&gt; FRANCES STARK&lt;br&gt; MATEO TANNATT &lt;br&gt;JENNIFER WEST</div> <div class="exhibition-dates">July 10 - July 31, 2010</div> <br/> <a href="/exhibition/view/1926"><img border="0" src="http://marcfoxx.com/static/dyn-images/35/35663.jpeg" alt="Carter Mull, Jason Meadows, Frances Stark" height="325" width="500" /></a> <p><p>Carter Mull, Jason Meadows, Frances Stark</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1926 <div class="exhibition-subtitle">The Waiting Room</div> <div class="exhibition-dates">May 22 - July 2, 2010</div> <br/> <a href="/exhibition/view/1855"><img border="0" src="http://marcfoxx.com/static/dyn-images/34/34171.jpeg" alt="" height="373" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><br /><br /> <br /></p> <p><span class="caps">MARC FOXX </span>is pleased to present The Waiting Room, the gallery&#39;s third solo exhibition for Ghent-based artist Cris Brodahl. Brodahl&#39;s corporeal depictions of assemblage are grounded between the figurative and the psychological. The imagery in her paintings can range from bare skin to skull; from bone to thorn thus creating haunting and beautiful still lifes as well as morose and engaging portraiture. </p> <p>By employing the loaded power of the skull in conjunction with depictions of physical objects of feminine opulence, such as necklaces, jeweled shoes and mirrors, Brodahl binds human temporality with tropes of beauty. In the painting The Clock, (2009) a female ballerina wears what seems like a collaged skirt of mandible and skull. The mirrored extension from which the paintings slides, doubles as backdrop or curtain, reflecting a fractured image of the viewer and thus implicating the viewer&#39;s role as audience. </p> <p>Her technical skill allows room for distinct depictions of universal subject matters: death, religion, sexuality and materiality. Ultimately, these paintings question dimensionality, scale and origin. Yet, it is really the configuration of the assemblage which lends to psychological investigation. </p> <p>Cris Brodahl has recently exhibited at The Approach in London and Xavier Hufkens in Brussels. Her solo exhibition at the Seattle Art Museum opened in July of 2010.</p></div> http://marcfoxx.com/exhibition/view/1855 <div class="exhibition-subtitle">Rendezvous Vous</div> <div class="exhibition-dates">April 10 - May 15, 2010</div> <br/> <a href="/exhibition/view/1818"><img border="0" src="http://marcfoxx.com/static/dyn-images/33/33285.jpeg" alt="detail from &quot;Dear _____, 2010&quot;" height="600" width="400" /></a> <p><p>detail from "Dear _____, 2010"</p></p> <br /> <div class="exhibition-description"><p><br /><br /> <br /></p> <p><span class="caps">MARC FOXX </span>is pleased to present, Rendezvous Vous, the gallery&#39;s second solo exhibition for Los Angeles-based artist Mateo Tannatt. Tannatt&#39;s interests in the exhibition explore reclamation and displacement in social order and psychological space through the use of sculptural theatrics. Over the past year, the artist has worked towards a performance for which he has written a libretto and worked with musicians and a composer on a score, Rendezvous Vous, from which the exhibition takes its name. </p> <p>Through his documentation of an abandoned restaurant, its subsequent seizure by the city, and ultimately, its demolition, Tannatt suggests a sculptural narrative of unintended occupancy. His research of the site&#39;s recent, unobserved resident, led him to propose alternate possibilities for the deserted business and transient tenant. This fictional denizen, both vagrant and fl&acirc;neur, is transparent, utilizing spaces that remain free for use and activity. The progression of this documentation directly relates to the form of the installed exhibition, combining elements of theater, opera, literature and cinema to create both a spatial context and subsequent temporal voice of the outsider. Using both forms and materials related to minimalism and corporate plaza sculptures, Tannatt reinforces the explicitly theatrical and material terms by which sculpture re-creates lost or vanquished spaces. In the works No door without a Window, "Dear _____", and "Casting Call: Vagrant No. 1 (Mattia)", all 2010, Tannatt creates staged invitations of entry with doors, glass walls and windows. "Casting Call: Vagrant No. 1 (Mattia)", in particular, also figuratively imagines the hybrid character of this dandy vagrant, his head, hands and feet are cast, but body remaining composite male/female mannequin, thus de-gendering and reducing the character to silent statue, despite its performative address and the printed libretto opposite its stage.</p> <p>Tannatt navigates the contrast between business and playful leisure as well as biography and fiction, displacing social conventions of everyday salvaged arenas. This created scenery alludes to the rich possibility that these abandoned and overlooked spaces represent, within physical and mental landscapes, temporal areas that are not secured or commercialized, thereby open for unregulated play and imagination.</p> <p>Mateo Tannatt has recently exhibited in Present/Futures at the Artissima Art Fair, where he was awarded the 2008 Illy Prize. He is exhibiting in the 2011 Hammer Museum Invitational.</p></div> http://marcfoxx.com/exhibition/view/1818 <div class="exhibition-subtitle">Alongside</div> <div class="exhibition-dates">February 27 - April 3, 2010</div> <br/> <a href="/exhibition/view/1817"><img border="0" src="http://marcfoxx.com/static/dyn-images/32/32520.jpeg" alt="Leonor Antunes (left), Amalia Pica (right)" height="378" width="500" /></a> <p><p>Leonor Antunes (left), Amalia Pica (right)</p></p> <br /> <div class="exhibition-description"><p><br /><br /> <br /></p> <p><span class="caps">MARC FOXX </span>is pleased to present, <span class="caps">ALONGSIDE, </span>two simultaneous solo exhibitions by Portugese, Berlin based artist, Leonor Antunes and Argentinian, London based Amalia Pica, both in their first US exhibitions. Working with different concerns, materials and intentions both artists share an interest in site, histories and structures both social and political. </p> <p>Forms of measurement are a key component in the work of sculptor Leonor Antunes. After deeply researching very specific places the artist begins to format systems and materials that have a conceptual relationship to the discovered data. Cut copper, brass, steel, leather, wood, and lighting have all been employed in projects that have explored, among others, Eileen Gray&#39;s E-Villa in Roquebrune France, the constructions of the <span class="caps">GDR </span>of Berlin, the Teatro Regio in Turin, Italy, and even the (re-) plantation of Tijuca Forrest of Rio de Janeiro, the largest urban tropical park in the world. In <span class="caps">ALONGSIDE,</span> Antunes brings her research done while on a recent Paris residence into focus. Having discovered that the metric system was put into it&#39;s modern metric use (Please see full attached document) at the advent of the French Revolution, Antunes was able to study the information on this historic and monumental feat and in some cases, archival documentation by the original scientists. The resulting constructions of hanging marine rope and brass tubing provide abstracted 5 dimensional maps of France at the time of this endeavor to calculate a universal unit of measure dedicated to "all men and all times" and bring a transcendent humanity to this fact.<br /> </p> <p>Leonor Antunes has exhibited, solely at the Museu da Republica in Rio de Janeiro, The Serralves Museum of Contemporary Art, Porto and Culturgest in Lisbon. Previous group exhibitions at the <span class="caps">CAPC,</span> Bordeaux, Air de Paris and Beautofrt 03 in Oostende, Belgium. Her past solo exhibitions include the Museu da Republica in Rio de Janeiro and Culturgest in Lisbon. Forthcoming exhibitions include the Kunstverein Dusseldorf, the Musee d&#39;Art MOderne de la Ville de Paris and a special project at the Reina Sofia in Madrid. </p> <p>Amalia Pica combines fact and fiction while addressing the origins of the culturally shared experience, myths, traditions and histories, to discuss the concept of the communicated idea. Materials from slide projections, Xerox wall murals, carved stone; film and video have been used in performative ways, thus exploiting their materiality. In the largest work in the exhibition Sorry for the metaphor #2, the artist has created a photomural using Xeroxed sheets applied directly to the wall. The vastly enlarged grainy image is of the artist standing with her back to the viewer on a stone mile marker, bullhorn at her side, facing a Casper David Fredrich like mountain-scape, possibly ready to read it the riot act, whimsicaly looking at arts attempt to communicate. Handmade semaphore flags are activated by the artist in a 35mm slide projection, which spells out words which are indicative to the notion of speaking while saying nothing (BABBLE, <span class="caps">BLABBER, CHATTER, GIBBER, JABBER, PATTER, PRATTLE, RATTLE, YAMMER, YADA, YADA, YADA,</span> 2010), one letter per slide. The themes of language and communication are mainstays in Pica&#39;s work, manifesting in homemade radio antennas, bullhorns and even silence and pause.</p> <p>Amalia Pica has forthcoming solo exhibitions at the Malmo Kunsthall and Galerie Diana Stigtero in Amsterdam. She has participated in group exhibitions at the Stedelijk Museum and Kunsthalle Basel. This is her first exhibition in the United States.</p></div> http://marcfoxx.com/exhibition/view/1817 <div class="exhibition-subtitle">St. Francis</div> <div class="exhibition-dates">January 9 - February 13, 2010</div> <br/> <a href="/exhibition/view/1816"><img border="0" src="http://marcfoxx.com/static/dyn-images/31/31110.jpeg" alt="" height="600" width="375" /></a> <p>JASON MEADOWS, <em>St. Francis</em>, 2010</p> <p> Bronze., 76-1/2 x 47 x 18 inches </p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1816 <div class="exhibition-subtitle">Billion Watt Bulb</div> <div class="exhibition-dates">January 9 - February 13, 2010</div> <br/> <a href="/exhibition/view/1815"><img border="0" src="http://marcfoxx.com/static/dyn-images/31/31098.jpeg" alt="" height="600" width="456" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1815 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 5 - December 19, 2009</div> <br/> <a href="/exhibition/view/1814"><img border="0" src="http://marcfoxx.com/static/dyn-images/30/30481.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1814 <div class="exhibition-subtitle">Nummer twaalf</div> <div class="exhibition-dates">October 24 - November 28, 2009</div> <br/> <a href="/exhibition/view/1773"><img border="0" src="http://marcfoxx.com/static/dyn-images/31/31544.jpeg" alt="" height="329" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1773 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 12 - October 17, 2009</div> <br/> <a href="/exhibition/view/1772"><img border="0" src="http://marcfoxx.com/static/dyn-images/27/27260.jpeg" alt="" height="470" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1772 <div class="exhibition-subtitle">and possibly</div> <div class="exhibition-dates">July 3 - August 1, 2009</div> <br/> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1732 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 3 - August 1, 2009</div> <br/> <a href="/exhibition/view/1731"><img border="0" src="http://marcfoxx.com/static/dyn-images/41/41474.jpeg" alt="" height="353" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1731 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 16 - June 20, 2009</div> <br/> <a href="/exhibition/view/1701"><img border="0" src="http://marcfoxx.com/static/dyn-images/25/25301.jpeg" alt="" height="402" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1701 <div class="exhibition-subtitle">Konstruktionen, 1968</div> <div class="exhibition-dates">March 21 - April 25, 2009</div> <br/> <a href="/exhibition/view/1683"><img border="0" src="http://marcfoxx.com/static/dyn-images/24/24237.jpeg" alt="Konstruktionen, 1968 Ink on graph paper. 48 framed sheets. 34 x 135 inches, overall" height="266" width="500" /></a> <p><p>Konstruktionen, 1968<br /> Ink on graph paper. 48 framed sheets.<br /> 34 &#215; 135 inches, overall</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1683 <div class="exhibition-subtitle">Maximus</div> <div class="exhibition-dates">March 21 - April 25, 2009</div> <br/> <a href="/exhibition/view/1615"><img border="0" src="http://marcfoxx.com/static/dyn-images/24/24233.jpeg" alt="" height="364" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1615 <div class="exhibition-subtitle">POMEGRANATE JUICE AND PEPPER SPRAY</div> <div class="exhibition-dates">February 14 - March 14, 2009</div> <br/> <a href="/exhibition/view/1614"><img border="0" src="http://marcfoxx.com/static/dyn-images/43/43448.jpeg" alt="Installation view" height="332" width="500" /></a> <p><p>Installation view</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1614 <div class="exhibition-subtitle">West Gallery</div> <div class="exhibition-dates">January 10 - February 7, 2009</div> <br/> <a href="/exhibition/view/1595"><img border="0" src="http://marcfoxx.com/static/dyn-images/22/22262.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1595 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 10 - February 7, 2009</div> <br/> <a href="/exhibition/view/1576"><img border="0" src="http://marcfoxx.com/static/dyn-images/22/22413.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1576 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 15 - December 20, 2008</div> <br/> <a href="/exhibition/view/1465"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21129.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1465 <div class="exhibition-subtitle">Mahagonny Station : Plein Air</div> <div class="exhibition-dates">November 15 - December 20, 2008</div> <br/> <a href="/exhibition/view/1466"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21144.jpeg" alt="" height="700" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">MARC FOXX </span>is pleased to present, Rendezvous Vous, the gallery&#39;s second solo exhibition for Los Angeles-based artist Mateo Tannatt. Tannatt&#39;s interests in the exhibition explore reclamation and displacement in social order and psychological space through the use of sculptural theatrics. Over the past year, the artist has worked towards a performance for which he has written a libretto and worked with musicians and a composer on a score, Rendezvous Vous, from which the exhibition takes its name. </p> <p>Through his documentation of an abandoned restaurant, its subsequent seizure by the city, and ultimately, its demolition, Tannatt suggests a sculptural narrative of unintended occupancy. His research of the site&#39;s recent, unobserved resident, led him to propose alternate possibilities for the deserted business and transient tenant. This fictional denizen, both vagrant and fl&acirc;neur, is transparent, utilizing spaces that remain free for use and activity. The progression of this documentation directly relates to the form of the installed exhibition, combining elements of theater, opera, literature and cinema to create both a spatial context and subsequent temporal voice of the outsider. Using both forms and materials related to minimalism and corporate plaza sculptures, Tannatt reinforces the explicitly theatrical and material terms by which sculpture re-creates lost or vanquished spaces. In the works No door without a Window, Dear _____, and Casting Call: Vagrant No. 1 (Mattia), all 2010, Tannatt creates staged invitations&not;&not;&not;&not;&not; of entry with doors, glass walls and windows. Casting Call: Vagrant No. 1 (Mattia), in particular, also figuratively imagines the hybrid character of this dandy vagrant, his head, hands and feet are cast, but body remaining composite male/female mannequin, thus de-gendering and reducing the character to silent statue, despite its performative address and the printed libretto opposite its stage.</p> <p>Tannatt navigates the contrast between business and playful leisure as well as biography and fiction, displacing social conventions of everyday salvaged arenas. This created scenery alludes to the rich possibility that these abandoned and overlooked spaces represent, within physical and mental landscapes, temporal areas that are not secured or commercialized, thereby open for unregulated play and imagination.</p> <p>Mateo Tannatt has recently exhibited in Present/Futures at the Artissima Art Fair, where he was awarded the 2008 Illy Prize.</p></div> http://marcfoxx.com/exhibition/view/1466 <div class="exhibition-subtitle">Triggers for Everyday Fiction</div> <div class="exhibition-dates">October 4 - November 8, 2008</div> <br/> <a href="/exhibition/view/1463"><img border="0" src="http://marcfoxx.com/static/dyn-images/20/20651.jpeg" alt="" height="336" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1463 <div class="exhibition-subtitle">west gallery</div> <div class="exhibition-dates">October 4 - November 8, 2008</div> <br/> <a href="/exhibition/view/1464"><img border="0" src="http://marcfoxx.com/static/dyn-images/20/20654.jpeg" alt="" height="337" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1464 <div class="exhibition-subtitle">Bunker Zingaro</div> <div class="exhibition-dates">June 28 - August 2, 2008</div> <br/> <a href="/exhibition/view/1467"><img border="0" src="http://marcfoxx.com/static/dyn-images/18/18653.jpeg" alt="view 1" height="632" width="500" /></a> <p><p>view 1</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1467 <div class="exhibition-subtitle">west gallery</div> <div class="exhibition-dates">June 28 - August 2, 2008</div> <br/> <a href="/exhibition/view/1468"><img border="0" src="http://marcfoxx.com/static/dyn-images/20/20943.jpeg" alt="From left: WILLIAM DANIELS Vase of Flowers with Pocket Watch (5), 2007 Oil on wood. 16.125 x 11.375 x 1 inches BRIAN FAHLSTROM Goldencap, 2008 Oil on canvas. 68.125 x 56.125 inches " height="334" width="500" /></a> <p><p>From left:</p> <p><span class="caps">WILLIAM DANIELS</span><br /> Vase of Flowers with Pocket Watch (5), 2007<br /> Oil on wood.<br /> 16.125 x 11.375 x 1 inches</p> <p><span class="caps">BRIAN FAHLSTROM</span><br /> Goldencap, 2008<br /> Oil on canvas.<br /> 68.125 x 56.125 inches</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1468 <div class="exhibition-subtitle">west gallery</div> <div class="exhibition-dates">May 24 - June 21, 2008</div> <br/> <a href="/exhibition/view/1470"><img border="0" src="http://marcfoxx.com/static/dyn-images/20/20945.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1470 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 24 - June 21, 2008</div> <br/> <a href="/exhibition/view/1469"><img border="0" src="http://marcfoxx.com/static/dyn-images/20/20948.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1469 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 21 - May 19, 2008</div> <br/> <a href="/exhibition/view/1589"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21206.jpeg" alt="" height="283" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1589 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 19 - May 17, 2008</div> <br/> <a href="/exhibition/view/1471"><img border="0" src="http://marcfoxx.com/static/dyn-images/20/20965.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1471 <div class="exhibition-subtitle">west gallery</div> <div class="exhibition-dates">April 19 - May 17, 2008</div> <br/> <a href="/exhibition/view/1472"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21019.jpeg" alt="Untitled, 2008 Anette Kelm Suite of 20 chromogenic prints 19 1/4 x 23 5/8 inches each 49 x 60 cm each. Installation dimensions variable " height="385" width="500" /></a> <p><p>Untitled, 2008<br /> Anette Kelm<br /> Suite of 20 chromogenic prints<br /> 19 1/4 &#215; 23 5/8 inches each<br /> 49 &#215; 60 cm each. <br /> Installation dimensions variable</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1472 <div class="exhibition-subtitle">west gallery</div> <div class="exhibition-dates">March 15 - April 12, 2008</div> <br/> <a href="/exhibition/view/1582"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21169.jpeg" alt="Prehistoric animal, 2007/8 graphite on paper 20 1/2 x 24 1/8 inches Plane with partial figure, 2008 graphite on paper 20 5/8 x 16 3/4 inches" height="332" width="500" /></a> <p><p>Prehistoric animal, 2007/8<br /> graphite on paper<br /> 20 1/2 &#215; 24 1/8 inches </p> <p>Plane with partial figure, 2008 <br /> graphite on paper<br /> 20 5/8 &#215; 16 3/4 inches</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1582 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 15 - April 12, 2008</div> <br/> <a href="/exhibition/view/1475"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21020.jpeg" alt="" height="339" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1475 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 16 - March 8, 2008</div> <br/> <a href="/exhibition/view/1473"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21176.jpeg" alt="" height="224" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1473 <div class="exhibition-subtitle">Moonch west gallery</div> <div class="exhibition-dates">February 16 - March 8, 2008</div> <br/> <a href="/exhibition/view/1474"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21174.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1474 <div class="exhibition-subtitle">NICHOLAS BYRNE&lt;br&gt;ELLEN GRONEMEYER&lt;br&gt;SAM WINDETT</div> <div class="exhibition-dates">February 16 - March 8, 2008</div> <br/> <a href="/exhibition/view/1583"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21171.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1583 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 12 - February 9, 2008</div> <br/> <a href="/exhibition/view/1476"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21178.jpeg" alt="" height="341" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1476 <div class="exhibition-subtitle">Nummer Acht, west gallery</div> <div class="exhibition-dates">January 12 - February 9, 2008</div> <br/> <a href="/exhibition/view/1477"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21177.jpeg" alt="" height="764" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1477 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 17 - December 22, 2007</div> <br/> <a href="/exhibition/view/1584"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21150.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1584 <div class="exhibition-subtitle">JIM HODGES&lt;br&gt;EVAN HOLLOWAY&lt;br&gt;REE MORTON&lt;br&gt; SUSAN PHILIPSZ&lt;br&gt; AMANDA ROSS-HO&lt;br&gt; FRANCES STARK</div> <div class="exhibition-dates">October 20 - October 10, 2007</div> <br/> <a href="/exhibition/view/1585"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21182.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1585 <div class="exhibition-subtitle">CHRIS EVANS&lt;br&gt;GERMAINE KRUIP&lt;br&gt;JIMMY ROBERT&lt;br&gt; KAREN SARGSYAN&lt;br&gt; MAAIKE SCHOOREL&lt;br&gt; GUIDO van der WERVE</div> <div class="exhibition-dates">June 30 - July 28, 2007</div> <br/> <a href="/exhibition/view/1587"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21188.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1587 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 26 - June 23, 2007</div> <br/> <a href="/exhibition/view/1588"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21191.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1588 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 17 - April 14, 2007</div> <br/> <a href="/exhibition/view/1590"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21194.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1590 <div class="exhibition-subtitle">Oranges &amp; Stripes</div> <div class="exhibition-dates">February 10 - March 10, 2007</div> <br/> <a href="/exhibition/view/1591"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21197.jpeg" alt="Annette Kelm, Installation view" height="332" width="500" /></a> <p><p>Annette Kelm, Installation view</p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1591 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 6 - February 3, 2007</div> <br/> <a href="/exhibition/view/1592"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21202.jpeg" alt="" height="337" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1592 <div class="exhibition-subtitle">Stilleven, Portret, Schutterstuck, west gallery</div> <div class="exhibition-dates">January 6 - February 3, 2007</div> <br/> <a href="/exhibition/view/1593"><img border="0" src="http://marcfoxx.com/static/dyn-images/21/21200.jpeg" alt="" height="328" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://marcfoxx.com/exhibition/view/1593 <p>Press Release:</p> <p>"You expected something.<br /> You expected something else perhaps.<br /> (...)<br /> In any case, you expected something.<br /> It may be the case you expected what you are hearing now.<br /> But even in that case you expected something different.&#8220;<br /> Peter Handke, Offending the Audience </p> <p>Characteristic for the paintings of Sanya Kantarovsky is a juxtaposition of abstract and concrete elements and their vivid interaction. A canvas that seems to combine purely abstract forms upon first sight, for example, can turn out to depict a drawn curtain or an arm, rendered visible by the addition of a single, inconspicuous painted hand. The abstract arrangement of two simple, intersecting lines might equally be perceived as windows and doors. Within the artist&#8217;s work, figuration and abstraction are at once present and absent as elements of mutual dependence and interrogation. The representational parts are reminiscent of disparate sources: items painted in the elegance of Fred Astaire or in the tradition of the famous illustrations of New Yorker magazine stand alongside others recalling political visual propaganda from the 1930s Soviet era or illustrations from children&#8217;s books. The subtle melancholic humor of a Franz Kafka informs the atmosphere of these images, complemented by a light touch and gentle use of color. Often enough his works confront the vagaries of the creative process or perception itself: individuals sit before an empty screen, gaze upon a blank image or abashedly grasp their heads at the sight of a white rectangular form.</p> <p>Kantarovsky&#8217;s canvases are multilayered organisms that eliminate the difference between the concrete and abstract, high and low, the decorative and the politically engaged, through their precise juxtaposition. At first sight, they seem seductively accessible, but closer inspection reveals that his works subtly invalidate such terms of classification. Kantarovsky maintains this openness in his occasional role as curator and his tireless interrogation of the architectural situations within which his work is presented.</p> <p>The new series of paintings for You are Not an Evening shows a state of the before, the afterwards, the behind and the in-between rather than depicting the actual incident: individuals are shown departing the scene, with their backs turned to the viewer or even all but gone from view. Figures stare in fascination at something that lies beyond the bounds of our perception. Elsewhere, abstract forms encroach upon the image&#8217;s narrative like dark clouds... Pursuing the strategies that underpin Peter Handke&#8216;s play Publikumsbeschimpfung (&#8220;Offending the Audience&#8221;), the exhibition concept emphasizes the absent and the subversion of classical terms of reference in art. You are Not an Evening elucidates the title of this presentation, while titles such as There are no Intervals Here and You Expected Objects illuminate the paintings&#8217; subscription to the premise of subverting the very expectations that their deceptively straightforward appearance might evoke in the viewer.</p> <p>For this paintings, Sanya Kantarovsky develops a situation in the <span class="caps">GAK, </span>where a linear sculpture opens a space within the space. Another structure, a hybrid of autonomous sculpture and exhibition display, interacts with the specifics of the institutional architecture, brings to mind the process of perception of the viewer by forced movement and enacts the exhibition as a play.</p> <p>Sanya Kantarovsky was born 1982 in Moscow and lives in New York. He studied fine arts at the Rhode Island School of Design, Providence, and the University of Los Angeles. He has exhibited at Lax&gt;<Art (Los Angeles) and several galleries internationally, and curated the group show Things, Words and Consequences at Moscow Museum of Modern Art in 2012. He is currently working on an animated film for Lax>&lt;Art and on a two person presentation with Frances Stark for Art Basel Features. You are Not an Evening is his first institutional exhibition in Europe. </p> <p>You are Not an Evening is accompanied by the Thursday Appointment&#8217;s with guided tours, lectures and film screenings.</p> http://marcfoxx.com/news/view/2513